Kenny Nguyen: The Divine Eye is an evocative, large-scale set up that invitations viewers to interact with the wealthy non secular and cultural historical past of Vietnam via the lens of Caodaism. Rooted within the synthesis of Jap and Western philosophies, Caodaism — a syncretic faith based in Vietnam within the Nineteen Twenties — serves as each inspiration and metaphor on this work, which is on view on the Halsey Institute of Up to date Artwork on the School of Charleston in South Carolina via December 6.
In his observe, Nguyen transforms torn strips of silk by dipping them into acrylic paint, layering them onto canvas, and hanging them dynamically on the wall to assemble new topographies. Now for the primary time, his method has been tailored to type columns that mirror Caodaism’s distinctive temple structure, marrying conventional Jap parts with Western influences to create a visible dialogue between the previous and the current, the native and the worldwide.
Kenny Nguyen, “The Great Palace Installation” (2025), hand-cut silk cloth, acrylic paint, canvas, mounted on wall, 18 columns
Caodaism emerged in response to the tumultuous historical past of Vietnam within the early twentieth century, throughout a time of colonial occupation and nationwide battle. Within the face of international domination and the erosion of indigenous cultural practices, this new faith synthesized parts from Buddhism, Taoism, Confucianism, Christianity, and different world religions to type a unifying non secular power. Though Nguyen will not be a training member of the religion himself, his grandmother was a member of the temple that impressed his work. This connection left a long-lasting imprint on his understanding of Caodaism and its significance to the Vietnamese folks. For the artist, the creation of “The Divine Eye” (2025) is deeply private.
Nguyen’s use of silk is deliberate and symbolic. By pushing the bounds of the fabric, he goals to emphasise ideas of transformation and perseverance, mirroring the journey of the Vietnamese folks — each inside their homeland and within the diaspora. In some ways, the work is meant to mirror the energy and charm of his grandmother and others of their group who’ve preserved their tradition and spirituality amidst adversity.
Kenny Nguyen, “The Great Palace Installation” (2025), hand-cut silk cloth, acrylic paint, canvas, mounted on wall, 18 columns
Via the hybrid type of structure, intricate folds of silk, and the profound symbolism of the Divine Eye — an all-seeing power that guides and protects — Nguyen hopes to create an area of reflection and connection, talking not solely to the non secular beliefs of Caodaism but additionally to the resilience and ongoing transformation of Vietnamese tradition. Via Nguyen’s artwork, viewers are invited to look inward and outward, to witness the previous’s affect on the current, and to think about the transformative energy of heritage in shaping the longer term.
To study extra, go to halsey.charleston.edu.
Kenny Nguyen, “The Divine Eye” (2025), hand-cut silk cloth, acrylic paint, canvas, mounted on wall
Element of Kenny Nguyen’s “(Undecided Title)” (2025), hand-cut silk cloth, acrylic paint, canvas, mounted on wall
